* Driver Quartet * Comma Records Filtered between the walls of a hungover film noir sensibility and as funky as an overflowing ashtray.

* Driver Quartet * Comma Records

Filtered between the walls of a hungover film noir sensibility and as funky as an overflowing ashtray, the Driver Quartet's first attempt CD, Night Time, makes a swell entire track for a grainy black-and-white life. It's a tasty mix of of recent origin tunes and oldies, spiced with unexpect choices as it is as "High Noon" and "Moon River." The opener is a hot and close "Night Time Was My Mother," Connie Pearce and Arnold Miller's 1950 jewel originally recorded by big band songbird June Christy. Vocalist David Driver's burnt-oak raspy baritone weaves languorously around the concord punctuated by the after-hours vigorouss of Fil Krohnengold on piano and Peter Kiesewalter onward clarinet.

The former impudence man for the band Meow and understudy for leads in Broadway's gap the openly gay Driver obtains ultratight backing throughout Night Time from these aces, Adam Bernstein in succession acoustic bass, and a lush assortment of strings. Bernstein also provides fine original lays including "Room for the New" about a family breakup, and "A lengthy Way Down, an unblinking consideration of the be pleased with thing.

Driver's as adept at a rambunctious take upon Paul Simon's ambiguous and nostalgic "Me and Julio Down by means of the Schoolyard" as he is with the schmaltzy "Imitation of Life." For this concord from the Lana Turner tearjerker, Driver gives a full-out 1950 big baritone delivery worthy of Vic Damone.

Perhaps the greatest in quantity ultracurrent cut is "Here Lies Love" formerly crooned by Bing Crosby, this mordant 1929 shell-shocked have a passionate affection for obit is more redolent of Kurt Weill's Berlin cabaret lays than of Der Bingle. Each smokin' note is coffin-nailed by the agency of Driver and the guys. Night Time's as bracing as a double bourbon.

Velez is a just discovered York City--based music writer.

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